Making the record's Americana pedigree stronger is production by Grammy-award winner T-Bone Burnett (O Brother, Where Art Thou, Robert Plant and Alison Krauss' Raising Sand). But the direction of the album was established well before Burnett came on. Presley traveled to England, where she collaborated with songwriters including Richard Hawley, Ed Harcourt and Travis' Fran Healy, to find her roots.

Lisa Marie spoke to Rolling Stone about the album, why she felt more comfortable making an American record in England, how Burnett restored her faith in music and not fighting herself anymore.

It's such a raw record. Was it tough to make?

It was easy to make, but I had to go far in order to make it. I went to England. I was kind of uninspired and tapped out creatively from certain experiences previously on other records, so I just really needed to remove myself far away and get in a whole different setting. And I spent eight months getting used to being around there writing, and it just really easily unfolded and really naturally and organically happened.

Storm and Grace : Lisa Marie Presley.

Did you know T-Bone would be coming to the project when writing?

No idea. It all happened with me telling Simon Fuller [her manager and CEO of XIX Entertainment], 'I really don't want to be in any typical situation anymore. I want to just remove myself entirely, go as far away as I can.' And thankfully he's set up over there, so he just put me with different people. We wrote 30 songs in eight months between me and the writers. I had it, but I wasn't in a hurry. I told Simon early on, a dream come true for me would be T-Bone. And I told him I loved Raising Sand and the whole thing. After I'd come back and I had the 30 songs written, I got a phone call - 'T-Bone heard it and he wants you to go to his house at 5 o'clock and meet him'. And I flipped out. I had no idea, I didn't even know he had heard them.

What is so fascinating is you went to England to make a quintessential American record. (Laughs)

I know, it's completely crazy, isn't it? I was supposed to be writing some kind of a synopsis about it today and I kept thinking it's just so ironic - finally the earthy, organic, rootsy, bluesy record comes out of me, in England, with English writers. I can't tell you how many times people would say, 'Go to Nashville and write with these writers and do this and do that', and try to push me in that direction. And it just didn't feel right for me. It wasn't contrived, the songs were already there, they had their tones, their textures.

It is ironic, but maybe not that surprising given there is a long history of English musicians embracing and understanding American music.

It's true. They happen to know American music history probably more than Americans do. They're very well-educated on it. And this record's always been in me. I am where I'm from, I'm never going to not be from the South. So it's in my nature. It's just that in the past there have been times where someone was deliberately trying to push me into the Nashville scene, or scenes, that just felt so contrived and unnatural to me.

Do you feel more comfortable with your roots as you've gotten older, or was it finding the right people?

It's a great question, and the answer is both. I'm always feeling a bit like I need to fight and kick, I don't know why. But all I ended up doing in the past by trying to do anything else was stepping and tripping on my own feet. It didn't prove anything to anyone to do something completely different that had nothing to do with anything. It was always against myself and hurting myself, though I was thinking I was fighting other people. I had to go through those phases, I did. So then, yes, I'm not doing that anymore. But it was also being around people I knew weren't gonna do that with me. The writers I was with weren't trying to push me in a direction. They had no agenda. Some of them had never written with anyone before. Like Richard Hawley had never sat and written a song with anyone but Jarvis [Cocker] in the past. And he was kind of nervous, because he was like, 'I've only written with Jarvis'. 'And then we wrote 'Weary'.

This record strikes me as being intensely personal. How important was T-Bone in creating distance for you from the record and serving as a sounding board?

Just the fact that he wanted to do it fed life into me. My light was dimmed. The way the music industry had gone, I was disheartened. And about the second or third day in the studio I pulled him aside and said, 'I just want to thank you - by doing this and believing in me and doing this record with me, you've really given me some light again.

Are you a big Britpop fan?

It is something that my husband has migrated towards forever, and he is actually the one who came up with the idea of writing with Richard. So then we kind of started heading down the road because it went so well, and Ed came on. For instance, on the songs I wrote with Ed, he sings harmony with me, and I've never had anyone else sing harmonies. I've always done my own. My management put me with lots of different people and I ended up gravitating and having a great thing with Richard, Ed and Sacha Skarbek.

What do you take from it when you listen to this album?

In the past, by the time the records came out and everyone heard them, everyone said, 'Oh, this is nice, this is great, oh, I love the record, blah blah blah'. I could never really get perspective on it, and this time no one's heard it, my mother hasn't even heard this yet. It's so personal that I haven't really played it for anybody.

T-Bone really puts himself into a project. Will he be involved in any other capacity, like in live shows, for example?

I've adopted him as a paternal presence in my life, so any way I can have him around I would love to have him around. I just adore him, so I've definitely adopted him and let him know that. If I can have him on stage and it's in the cards, I would be really happy about that. The thing I wanted to say too was just the fact that I didn't know we were gonna record it live. In the past you would do it a certain way, so it was a little bit out of my comfort zone, but it was great. He told me, like, three days beforehand, 'Oh, by the way, we're doing it live'. So I was like, 'Oh my god'. But it was really great to do it that way. It pushed me a lot.

The more I listened to the songs, the deeper an artist I found her to be. Listening beyond the media static, Lisa Marie Presley is a Southern American folk music artist of great value', says T Bone Burnett. 'Her rich, smoky vocals evoke Sheryl Crow and occasionally bear traces of Courtney Love's ragged disaffection', said Entertainment Weekly of Presley's debut album, 'To Whom It May Concern', while the Los Angeles Times called the lead single, 'Lights Out', 'one of the most hauntingly personal songs' of the year. AllMusic.com praised 'Now What' as 'genuine…due largely to her willingness to lay herself bare in her music and lyrics.' While it may differ sonically, 'Storm and Grace' is equally revealing. The track listing is as follows:

Audio : Over Me by Lisa Marie Presley

A second song from Lisa Marie Presleys soon to be released album, Storm And Grace, has been released online. The song, Over Me is again another strong performance and we look forward to the album!

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Twins

Lisa Marie Presley gave birth to twin girls on Tuesday, Oct. 7, 2009. The baby girls were named Harper Vivienne Ann Lockwood & Finley Aaron Love Lockwood and were delivered by Caesarean section 2:46 p.m. They weighed in at 5 lbs., 15 oz. and 5 lbs., 2 oz. The girls are the first children together for Lisa Marie and husband Michael Lockwood, a musician (Married in Japan January 2006). Lisa Marie, who proudly displayed her baby bump in the September issue of Marie Claire, has a daughter Riley Keough, 19, a model, and Benjamin, 15, with ex-husband Danny Keough. The names acknowledge Elvis (Aaron), Gladys (Love) and Priscilla (Ann).

Colonel Tom Parker

Elvis By The Presleys DVD

For more information on Elvis and Priscilla buy the Elvis By The Presleys DVD -- at over 4 hours this double DVD set will tell you everything you want to know and more plus includes lots of home movies of Elvis, Priscilla and Lisa Marie. A must for every fan! -- Also there is Priscilla's book -- Elvis & Me.

Never before have we seen an Elvis Presley concert from the 1950's with sound. Until Now! The DVD Contains recently discovered unreleased film of Elvis performing 6 songs, including Heartbreak Hotel and Don't Be Cruel, live in Tupelo Mississippi 1956. Included we see a live performance of the elusive Long Tall Sally seen here for the first time ever.

This is an excellent release no fan should be without it.

The 'parade' footage is good to see as it puts you in the right context with color and b&w footage. The interviews of Elvis' Parents are well worth hearing too. The afternoon show footage is wonderful and electrifying : Here is Elvis in his prime rocking and rolling in front of 11.000 people. Highly recommended.

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Elvis Presley

Elvis Presleys's songs are unforgettable - they have stood the test of time, especially his singles of the 1950s, a decade in which he had a song at No. 1. for 59 weeks and 4 No. 1 albums ('56-'59). Read More.